Viaticum

about this album

Together now for over a dozen years, e.s.t. has clearly developed a number of personal stylistic markers. Blending improvisation with a distinct pop sensibility that includes subtle use of electronics—with the exception of Dan Berglund's aggressive fuzztone arco bass—the trio has honed a sound incorporating elements of drum 'n' bass, electronica, funk, pop, classical and rock, without losing sight of its own voice. Often spoken of in the same breath as The Bad Plus, e.s.t. is the more elegant alternative, with considerably more finesse and richer colors than TBP's bombastic and monochromatic approach. Still, after eight albums including last year's Seven Days of Falling , and an ever-increasing performance schedule that has seen them become one of the most popular jazz touring acts in Europe with some forays into the American market, is it possible that e.s.t. has begun to fall prey to its own devices, sacrificing innovation for formula? With its latest disc, Viaticum , the answer is yes...and no. The common elements are all there: Berglund's distorted arco supplementing his supple pizzicato, Esbjörn Svensson's subtle electronic keyboard shadings tastefully enhancing his more dominant acoustic piano voice, and drummer Magnus Oström's combination of traditional drum kit with extended percussive techniques. While some groups make gigantic leaps from album to album, others grow gradually, and e.s.t. has a tendency to move forward in smaller increments, with each new album retai

tracks

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